Last week, Malayali romance took a trip to Mukkam, stretched itself on the banks of the river Iruvazhinji, and drenched in the undying love of Kanchana Mala and Moideen, with the song ‘Mukkathe Penne’ presiding over the rendezvous. Gopi Sunder, who scored the most popular song in the movie, Ennu Ninte Moideen, and its background music, is a happy man with all the adulation coming his way. “The movie had three music directors and, initially, the public failed to see my contribution. But it is changing fast. I have not been inundated with such praise since Ustad Hotel. ‘Mukkathe Penne’ was not a song that was initially on the soundtrack, and was born while the background music was being scored, that too in ten minutes.”
The director, R S Vimal, approached Gopi with the project first, but since he was busy with the work on Bangalore Days, he had to forego the chance. But, by interesting turns of fate, the work on the background score came to Gopi. “Moideen is one movie where I immersed myself passionately and it is one of my best works to date,” says the music director. The success is a second helping of sweetness for Gopi, who is on cloud nine after his unexpected National Award win for the background score for 1983. The award was a welcome surprise as the state award had given him the slip. “It’s curious how the state jury overlooked my contributions and the ones in Delhi, with many more candidates to choose from, found it commendable”. Has politics got anything to do with it? He smiled and quipped, “It is like asking whether human beings have hunger.” With over 22 years of experience to ride on, Gopi has scored for films that are classified as ‘mass and ‘class’. “A movie calls for a certain kind of music and the score flows from the theme,” he says. “I have closely studied the reactions of people to scenes and to the music played to an image.” Most directors, he says, respect his experience and talent, and do not usually interfere with his work. But some are particular about their choices and have strong preferences. But Gopi has his own ways of working around those, too.
He recounts an incident that happened during the re-recording on Bangalore Days.
“(Director) Anjali Menon is a tough task-master and would not give up until she gets exactly what she wants,” he says.
“On our first day at the studio, she gave me specific details on the sounds and instruments she wants on the background track. I called her outside the studio and asked her, ‘Do you read newspapers?’, to which she answered ‘Yes’. ‘What about articles and novels?’, the answer was ‘yes’ again. Since Anjali keeps tab on all the important events in the world, I told her she is talented enough to lead the country. She smiled when I said this. Then I said, ‘I don’t do any of these. My only preoccupation for the last two decades has been watching movies and making music. I know my job.’ She was obviously not thrilled on hearing this and left me alone. After the work on three reels got over, I invited her to the studio and played it to her. At the end of it, she was left crying and said I have done a brilliant job. It was all smooth thereafter.”